23 March 1835

 Third Philharmonic Society Concert 

London: Hanover Square Rooms—Time: Evening, Eight o’Clock

Subscription Concert: 4 Guineas

Programme

Part I
Symphony No.3 in C minor, Eroica		Beethoven
Grand Scena, ‘Ah! perfido’	Mr. Sapio	Beethoven
Piano Concerto No.3 in G minor	Mr. Moscheles	Moscheles
From Gli Orazi e Curiazi: Recit. and Aria, ‘Se pietà nel cor serbate’	Miss Postans	Cimarosa
Overture, Der Beherrscher der Geister		Weber
Part II
Symphony in E flat		Mozart
Scena and Aria, ‘Tu m’abbandonni’	Miss Novello	Spohr
Sonata [in A major No.9] for Violoncello and Contra Basso	Messrs. Lindley and Dragonetti	Corelli
From Idomeneo: Recit. and Quartet, ‘Placido è il mar, andiamo’	Miss Novello, Miss Postans, Mr. Sapio, Signor Giubilei	Mozart
Overture, Jessonda		Spohr
Principal Vocalists: Miss Novello, Miss Postans; Mr. Sapio, Signor Giubilei
Principal Instrumentalists: Messrs. Dragonetti, Lindley, Moscheles
Leader: Mr. Charles Weichsel; Conductor: Mr. Thomas Cooke

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Programme Notes: The piano brand was Érard.

Encores: From Sonata [in A major No.9] for Violoncello and Contra Basso: Last Movement—Messrs. Lindley and Dragonetti—Corelli

From Symphony in E flat: Minute and Trio—Mozart

Salary: £10.10 for one performance.

[GB-Lbl RPS MS 299, f23 v.]

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Moscheles: ‚Ich selbst spielte mein G-moll-Concerto, aber auf einem zähen Erard mit stockendem Tasten, der mir viel zu schaffen machte‘.

AML I, 288.

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Philharmonic Society Programme

UNDER THE IMMEDIATE PATRONAGE OF

Their Majesties.

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PHILHARMONIC SOCIETY.

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THIRD CONCERT, MONDAY, MARCH 23, 1835.

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ACT I.

Sinfonia in C minor           –                  –                   –                   –         –	Beethoven.
Recit. ed Aria, Mr SAPIO, “Ah perfida,”            –                 –                –	Beethoven.
Concerto in G minor, Pianoforte, Mr MOSCHELES                   –         –	Moscheles.
Recit. ed Aria, Miss POSTANS, “Se pietà nel col serbate.”
(Gli Orazj e Curiazj)     –                  –                   –                   –         –	Cimarosa.
Overture, Der Beherrscher der Geister                –                 –                 –                –	C. M. von Weber.

ACT II.

Sinfonia in E flat                –                  –                   –                   –         –	Mozart.
Aria, Miss CLARA NOVELLO, “Tu m’abandonni”             –                –	Spohr.
Sonata, Violoncello e Contra Basso, Messrs LINDLEY and Dragonetti	Corelli.
Recit. e Quartetto, Miss CLARA NOVELLO, Miss POSTANS,
Mr SAPIO and Mr GIUBILEI, “Placido è il mar,” (Idomeneo)	Mozart.
Overture, Jessonda            –               –                  –                 –                –	Spohr.
Leader, Mr WEICHSEL—Conductor, Mr T. COOKE.

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^*_*^* TO COMMENCE AT EIGHT O’CLOCK PRECISELY.

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The Subscribers are most earnestly entreated to observe, that the Tickets are not transferable,

and that any violation of this rule will incur a total forfeiture of the subscription.

THE NEXT CONCERT WILL BE ON THE SIXTH OF APRIL.

 

The Morning Post (March 23, 1835): 3. 

PHILHARMONIC.—A rehearsal of the music intended for the concert this evening took place on Saturday morning. The symphonies are MOZART’S in E flat, and BEETHOVEN’S magnificent composition in C minor, with its really triumphal march. The overtures are SPOHR’S “Jessonda,” and WEBER’S “Ruler of the spirits.” Moscheles performs his beautiful concerto in G minor. The vocalists are Miss CLARA NOVELLO, Miss POSTANS, Mr. SAPIO, and GIUBILEI, WEICHSEL leads and T. COOKE conducts.

Reviews

The Morning Post (March 24, 1835): 3. 

PHILHARMONIC SOCIETY. 

[line]

The third of this series of concerts took place last evening at the Hanover-square Rooms. The following was the scheme for the evening, from which it will be seen that the Directors have made a considerable advance towards the choice of none but good and classical vocal compositions. The instrumental selection was as usual excellent:— 

ACT I.
Sinfonia in C minor……………………………………	Beethoven.
Recit. ed Aria, Mr. Sapio, ‘Ah perfida’……………….	Beethoven.
Concerto in G minor, Pianoforte, Mr. Moscheles  ……	Moscheles.
Recit. ed Aria, Miss Postans, “Se pietà nel col’	Cimarosa.
serbate,” (Gli Orazj e Curiazj)…………………….
Overture, Der Beherrscher der Geister………………..	C. M. Von Weber.
ACT II.
Sinfonia in E……………………………………………	Mozart.
Aria, Miss Clara Novello, ‘Tu m’abbandonni’……….	Spohr.
Sonata, Violoncello e Contra Basso, Messrs. Lindley	Corelli.
and Dragonetti…………………………………….
Recit. e Quartetto, Miss Clara Novello, Miss Postans,	Mozart.
Mr. Sapio, and Mr. Giubilei, “Piacido è il mar.”
(Idomeneo) ………………………………………..
Overture, Jessonda……………………………………..	Spohr.
Leader, Mr. Weichsel; Conductor, Mr. T. Cooke.

The symphony in C minor (No. 3) was composed by BEETHOVEN; and was the first in which he ventured to depart from the mode which then universally prevailed in the construction of this style of composition. It commences with an allegro con brio, ia [sic] common time, upon a short and broken subject, which is relieved by a lovely motive, led off by the first violin, and carried out by the clarionet and flute. The corni sustain the dominant throughout this passage, and afterwards change to the tonic, upon which they continue whilst the strings are busy in imitating the first subject. A full burst of the orchestra then occurs; and the first half of the movement closes, in the relative major, with the elegant phrase which WEBER afterwards made use of in his overture to the Freischütz, and has thus rendered it generally familiar. The second part of this  movement  commences with the first motivo, which is vigorously worked up, until the composer returns to the tonic in two beautiful descending passages for the bass; a mannerism which MENDELSOHN has very successfully imitated. There are then some chromatic and enharmonic modulations interchanged between the stringed and wood bands; and the original motivo is again repeated. In the last part of this movement the change to C major, introduced by the fagotti leading off the subject, deserves especial notice; as also the old church progressions of the descending fourth running through two octaves. The second movement is an air with variations in A flat major, after the manner of MOZART in its commencement, but subsequently carried on in BEETHOVEN’S peculiar style, of which his pianoforte works afford marked specimens. The passages in contrary motion, embracing the extremes of the octave and its ninth, are very beautiful. The third movement is a scherzo [sic], which the basses lead off, and is remarkable for a short but spirited fugue, which is maintained in the second part. The subdued roll of the tympani, at the coda upon the tonic, whilst the basses hold the A flat, and the violin recal [sic] the original motivo, is a grand specimen of the author’s imaginative powers. The final movement, with triumphal march, in C major, is somewhat similar to that of “the Jupiter.” by MOZART. There is not the elaborate display of science in it which MOZART so lavishly displays in the work referred to. There is, however, a short canon on the tonic towards the close which reminds us of the coda to the celebrated concluding chorus from the Mount of Olives. The whole symphony was admirably performed, and every movement much applauded. MOZART’S symphony in E flat followed. There is much grandeur in the opening movement. The brass band is very effectively used, and the sequence of the chord of the 6-5 is prodigiously brought out. The concluding semibreves are quite, in the manner of SPOHR. Everyone knows the movement in A flat, with its exquisite and melodious phrases, its boundless imitations—the clarinetti and fagotti solos. There is a beautiful specimen of the sharp 5th (the E natural upon the A flat, a chord which has been absurdly termed the French 5th, although we know of no composer who has used it more unsparingly than our great countryman, PURCELL. The minuet and trio are as elegant as they are fortunately well known and appreciated. They were encored, principally; through the delightful playing of WILLMAN in the trio. The finale is generally played greatly too fast. There is so much of what is technically called business going forward—the modulations are so frequent and sudden, and at times enharmonic—that the helter skelter time in which it is too often performed in our judgment mars the effect. The variety and beauty, and often times grandeur, of MOZART cannot contend with the extraordinary forms and proportions in which BEETHOVEN conveys his ideas—which bear down upon the mind with “the compacted force of lightning.” It is Hector against Achilles, or, to pursue another idea, the personification of voluptuousness against “the compression of the sublime.” This sinfonia was excellently played on this occasion. The overture to Jessonda, or the Rajah’s Wife is a happy specimen of the great living magician, LUDWIG SPOHR, upon whom has descended the mantle of BEETHOVEN. It opens in E flat minor, commencing with the music which is heard afterwards in the Temple scene. The nocturnal hymn of the Brahmins follows, interrupted by the motivo of the chorus sung, by the soldiers of D’Acunha (the hero of the opera) at the close of the second act. The vivace movement is elegant in the extreme, and worked up with great power. The chromatic ascent of the basses at the close is prodigious effective. No composer uses the trombones and tympani with the success which SPOHR does. The overture. to “The Ruler the Spirits” is one of WEBER”S best compositions. The kind of corale, brought out first by the wind band and afterwards by the brass, is very magnificent. Both the overtures were finely executed, and went off magnificently. WEBER’S overture placed the orchestra on their mettle, but their playing combined both brilliancy and precision. Mr. MOSCHELES performed his grand concerto in G minor, No. 3. It is a very efficient composition, and was played with a smoothness, brilliancy, and strength of finger which elicited deserved applause. The second solo is a gem of exquisite water. LINDLEY and DRAGONETTI, in the duet No. 9, from CORELLI, evinced their transcendent skill, and the last movement, from the crispness with which it was played by DRAGONETTI, was rapturously encored. The whole world could not match these unrivalled performers. The approbation was immense. The vocal performances were an improvement on past times. “Tu m’abandonni” (sung by Miss CLARA NOVELLO, who was in fine voice and is much improved), a composition of SPOHR, is modelled on the usual plan of the great dramatic scenas of the German school, and consists of three movements, a recitative, a cantabile, of deep and expressive pathos, and an agitato, abounding in difficulties, but full of passion and energy, and remarkable for its purely vocal character. It was effectively performed and very well received.  BEETHOVEN’S scena in E flat, next to “Adelaida,” is the most beautiful he ever wrote. The cantabile movement in three-quarter time is enchanting, but we regret to say a considerable potion of it, as also of the last movement, was with questionable taste, omitted. Mr. SAPIO possesses a voice of very tine quality, and he sang with his usual ability but his voice wanted power to give full effect to the scena. Miss POSTANS did not answer the expectations which had been entertained of her vocal powers; timidity appeared to deprive her of the faculty of using the gilts with which she is endowed—a splendid contralto and richness of tone. The quartet was charmingly done. The concert was very well attended, and gave great satisfaction. The selection reflected credit on the Directors.

Dover Telegraph and Cinque Ports General Advertiser (March 28, 1835): 5.

PHILHARMONIC.—There was a very excellent concert on Monday night, led by Weichsel and directed by T. Cooke.’ splendid symphony in C minor was finely performed, as was Mozart’s symphony in E flat, in the minuet of which Willman’s clarinet solo was so beautiful that it was encored. Weber’s “Ruler of the Spirits,” and Spohr’s “Jessonda” were well executed. Moscheles performed his exquisite concerto in G minor, admirably; this composition is not merely a showy piece for the pianoforte, but a most elaborate and scientific production, in which the whole orchestra is fully and effectively employed. The other instrumental display was Lindley and Il Drago’s matchless performance of Corelli’s ninth solo, the last movement of which was encored. The vocalists were—Miss Novello (who sang a fine song of Spohr’s extremely well), Miss Postans, (who gave a scene of Cimarosa), being her first appearance before this critical audience, seemed to affect her. Sapio sang’s “Ah, perfida” with very great success, the andante was very feelingly and chastely given. Mozart’s beautiful quartetto, “Placido è il mar,” was charmingly sung by the three vocalists named, and Giubilei; the difficult soprano solo was given very sweetly by Miss Novello. The fourth concert will be on the 6th of April.

The Athenæum (March 28, 1835): 251-252.

PHILHARMONIC CONCERTS—The third of those Concerts, though presenting us with no novelty, was a very excellent and interesting performance. The Symphonies were Beethoven’s noble one in C minor, which (save that we are always apt to like the last we have heard the best) we should class among his very best works; and Mozart’s delicious Symphony in E flat—the minuet of which was most deservedly encored. The Overtures were Weber’s ‘Ruler of the Spirits,’ and Spohr’s ‘Jessonda,’ all of which went well, the band being led by Mr. Weichsel, and conducted by Mr. T. Cooke. Moscheles played his admirable Concerto in G minor; but it is rather a work for the select few, than a general audience. It did our hearts good to hear the applause not lavished, but thunderedupon Lindley and Dragonetti in the second act, for their charming Corelli duet; but we fear that our excellent violoncellist is incorrigible in his constancy to one cadence, and that we must make up our minds to it every time we hear him—otherwise, we could fancy nothing better than his playing on Monday. For the vocal music, Miss Postans sang Cimarosa’s ‘Se pietà nel col serbate’ perhaps haps the timidity attending a first appearance in this orchestra, restrained her; we shall look, in future, for much more feeling: her voice is beautiful. We may say the same to Miss Clara Novello—who, with her great natural gifts and the excellent cultivation they have received, ought to become a concert singer of the highest order-her song, ‘Tu m’abbandoni,’ from Spohr, was given with much greater firmness than when we heard her sing it last season: but, to finish of style, she must add warmth of conception, if she would not stand still in the high road to excellence. Mr. Sapio sang Beethoven’s splendid scene, ‘Ah perfida,’ with great care: but his voice would not always answer his will, and in the upper notes was very weak. The other vocal piece of the evening was the quartet, ‘Placido è il mar,’ from Idomeneo, in which Mr. Giubilei assisted the singers we have already mentioned.

The Spectator (March 28, 1835): 303.

THE PHILHARMONIC CONCERTS.

THE third of these concerts was on Monday; and we don’t remember one that presents scantier materials for notice, not from any want of excellence in the instrumental pieces, but that frequent repetition has rendered any renewed examination of their merits unnecessary. This was the scheme.

ACT I.
Sinfonia in C minor…………………………………………..	BEETHOVEN.
Recit. ed Aria, Mr. SAPIO, “Ah perfida”……………………	BEETHOVEN.
Concerto in G minor, Pianoforte, Mr. MOSCHELES  ………	MOSCHELES.
Recit. ed Aria, Miss POSTANS, “Se pietà nel col serbate.”	CIMAROSA.
Overture, Der Beherrscher der Geister………………………	C. M. VON WEBER.
ACT II.
Sinfonia in E………………………………………………….	MOZART.
Aria, Miss CLARA NOVELLO, “Tu m’abbandonni:……….	SPOHR.
Sonata, Violoncello e Contra Basso, Messrs. LINDLEY and	CORRELI.
DRAGONETTI…………………………………………..
Recit. è Quartetto, “Placido è il mar” (Idomeneo)…………..	MOZART.
Overture, Jessonda…………………………………………..	SPOHR.
Leader, Mr. WEICHSEL.—Conductor, Mr. T. COOKE.

We can scarcely wonder at the fondness with which each successive set of Directors clings to the wonderful Sinfonia of BEETHOVEN. They remember the repeated efforts which in the infancy of the Society were necessary to develop its meaning and character. It was imported, almost smuggled, while England was shut out from all Continental intercourse, and when the periodical visits of the great German writers to our metropolis were unknown. It rose into shape after repeated and laborious trials, as at Pompeii the symmetry of a newly discovered limb or the proportions of a shaft, though indicating the existence of a perfect work of art, disclose the graceful statue or the well-proportioned column only to the persevering and judicious efforts of the antiquary. Hence the Philharmonic Band regard this composition with a sort of parental fondness. It had a new birth in England: they were its sponsors, and no wonder that the contemplation of its vigorous manhood and gigantic strength afford them more than ordinary delight. 

The Sinfonia of MOZART is equally a master work of its kind, and its influence on the audience on Monday night seemed in no degree impaired by collision with that of BEETHOVEN. The response of the clarinet and flute in the trio was perfect; for, without changing a note of the text, WILLMAN and NICHOLSON infused into it so sweet a tone and so graceful an expression, as to excite for it an unanimous encore.

MOSCHELES played one of his finest, though not one of his latest Concertos. It was, altogether, an exhibition worthy its place. Old CORELLI stood his ground so well, backed by LINDLEY and DRAGONETTI, as to command an encore.

SAPIO sung the Recitative and the former part of his song most creditably. In its conclusion he was over-weighted. Miss POSTANS’S song has scarcely sufficient character to bear removal into a concert-room. Her performance evinced that good taste which we should expect from a pupil of Sir GEORGE SMART. Miss NOVELLO sung SPOHR’S delightful Scena correctly; but it was, necessarily, destitute of the energy which a singer of more experience and power would have given it. MOZART’S beautiful Solo and Chorus was cut down to a quartet, and therefore lost its proper character and meaning. Do the Directors imagine their auditors to be so ignorant of Idomeneo as not to be aware of this attempted deception? Such a practice, too, violates one of the principles of the Society—that every piece performed at these concerts shall be given in a perfect and unmutilated form. 

The Atlas (March 29, 1835): 201.

Philharmonic Society—Third Concert, Monday,

March 23, 1835.

ACT I.—Sinfonia in C minor—BEETHOVEN. Recit. ed. Aria, Mr. SAPIO, “Ah perfida” —BEETHOVEN. Concerto in G minor, pianoforte, Mr. MOSCHELES—MOSCHELES. Recit. ed Aria, Miss POSTANS, “Se pietà nel cor serbate,” (Gli Orazj e Curiazj)—CIMAROSA. Overture, “Der Berherscher der Geister.” —C. M. VON WEBER.

ACT II.—Sinfonia in E flat—MOZART. Aria, Miss clara novello, “Tu m’abbandonni” —SPOHR. Sonata, Violoncello e Contra Basso, Messrs. LINDLEY and DRAGONETTI—CORELLI. Recit. e Quartteto, Miss CLARA NOVELLO, Miss POSTANS, Mr. SAPIO, and Mr. GIUBILEI, “Placido è il mar,” (Idomeneo)—MOZART. Overture, “Jessonda” —

Leader, Mr. WEICHSEL—Conductor, Mr. T. COOKE

A REALLY well selected concert, in which one good thing was no sooner over than another began—the whole, with the exception of a rather unluckily chosen aria, from CIMAROSA’S serious opera, maintain a full audience and complete attention from the commencement to the close of the evening. We mention this because, on former occasions, the conclusion of the second or third piece in the second part has been the signal for a great proportion of the company to take their departure, and those who sat out the concert were compelled to listen as they could amid the distractions arising on each side the room from persons making their way out in their carriages. The second part of Monday’s entertainment was highly interesting, and but few seemed inclined to stir. When all was over the amateur retired homewards with his head in that pleasing whirl of melodious subjects and instrumental effects, and with that perception of something added to the stock of his sensations, which are the most pleasant results of musical excitement. Let the directors, therefore, prosecute their attended selections, and turn dissatisfied [*] and eternal grumbling into “golden opinions.” It is not too late for them to improve.

BEETHOVEN’S C minor symphony is one of which the time, general expression, and character are now well understood by the Philharmonic band, and it must in justice be owned that they play it a great deal of attention and apparent relish. We should think that the most finished connoisseur of BEETHOVEN must have been satisfied with the manner in which this king of symphonies was produced on Monday. Mr. SAPIO was loudly and deservedly applauded in “Ah, perfida!—a scena which he sings with much feeling and intelligence of the author. It is now long since we have heard this composition, and the interval restored all the novelty and charm of first impressions, proving the music to belong to that class of dramatic productions which, with a slight intermission, may be listened to for ever. The concerto, in G minor, of MOSCHELES, is a difficult one for the pianoforte, but, at the same time, a well-imagined, agreeable compositions, mixed up after the modern German fashion, with capital effects of the orchestra. The instrument on which the artist performed seemed but little calculated to second his exertions—being extremely deficient in vibration, and apparently not answering perfectly to the touch. Under these disadvantages the execution of the first movement was not all that it might have been wished. Mr. MOSCHELES, however, in the slow movement, and in the rondo, displayed the most eminent qualities of his style. In the one, the elegance and expression of his manner, and in the other, the rapidity of his daring flights of octaves, executed with unerring precision and astonishing power of hand, called forth loud plaudits, and extorted the praise of the most indolent listeners. The music sung by Miss POSTANS was of the order of antiquated fustian, which is fitly termed mock heroic. It was a most unhappy choice. However, such as it was, it made us augur favourably of the musical education of the young lady, who seems to possess a sensible and modest style, and more than the average endowments of a musical nature. The voice of Miss POSTANS is a mezzo soprano, of no great extent, but of a sweet quality in the lower tones. The anxiety natural to a first appearance caused her to sing a little above the mark in her solo, but this was not perceptible in the quartett from Idomeneo, in which her voice told with excellent effect. We imagine that it is rather in the capacity of a valuable second singer, than a solo performer, that the services of Miss POSTANS will be chiefly available in concerts. WEBER’S overture to the “Ruler of the Spirits” was played with great animation.

We applaud the conductor, Mr. T. Cooke, not only for giving MOZART’S symphony in excellent time, but for observing the proper marks of repetition, and we recommend Sir GEORGE SMART, who always conducts with singular deference to a stop watch, to consider and profit by the excellent example of Mr. T. COOKE on this head. The beautiful scena of SPOHR, selected by Miss CLARA NOVELLO, was performed by that young lady in a manner that would have ensured her the warmest thanks and approbation of the composer, had he been a listener. Since MALIBRAN left us we have heard no sounds of a female voice so full of impassioned feeling and of the serious beauty of singing as in her performance of Monday. Her early talent is beginning to exhibit itself in a manner which surpasses all that could have been anticipated; and the fresh and pure tones of her voice are now animated by a maturity of feeling which is quite unexampled, at least in our experience. The great charm in Miss CLARA NOVELLOS’S performance continues to be its entire simplicity and freedom from affectation—the more she is able to do the less she seems to presume—and, really, after witnessing the stock of grimaces, shrugs, and other theatrical tricks which form an ordinary singer’s course of education in the expressive style, it is some relief to see the pale, fair girl who stands so like a statue in the orchestra, and who, affecting nothing, accomplishes so much. There are slight faults of inexperience in her performance, particularly an over liberality of little ornaments; but when time shall have corrected this, and rendered her perfect in the mechanism of her art, we may look to her for such a singer as England has not produced for a long time, for, in all that concerns, the expression and the soul of singing, Miss CLARA NOVELLO, though so young, has absolutely nothing more to learn.

LINDLEY and DRAGONETTI performed the sonata of CORELLI in A (No. 9, we believe.) The former flourished about in the slow movement in a manner which would have astonished CORELLI; the latter articulated some rapid passages with great distinctness, and was encored by acclamation. This composition formed a very pleasing variety in the bill. MOZART’S quartetto, “Placido è il mar,” was sung a little too loud, but, on the whole, well. The effects of the orchestra were quite delightful, and were the more noticed from the rarity of Idomeneo, as a work for concert selections. SPOHR’S overture to Jessonda is the most beautiful and characteristic work of the kind that he has perhaps ever produced. It was performed with taste and spirit, and closed a highly satisfactory performance. 

Supplement to the Musical Library (April 1835): 33.

THIRD CONCERT, MONDAY, MARCH 23.

Act I.

Sinfonia in C minor              .          .           .           .           .           .	BEETHOVEN.
Recit. ed Aria, Mr. Sapio, ‘Ah perfida’               .          .           .	BEETHOVEN.
Concerto in G minor, Piano-forte, Mr. Moscheles    .         .           .	MOSCHELES.
Recit. ed Aria, Miss Postans, ‘Se pietà nel col serbate.’ (Gli Orazj
e Curiazj                     .          .           .            .          .           .	CIMAROSA.
Overture, Der Beherrscher der Geister           .         .         .         C. M. VON WEBER.

Act II.

Sinfonia in E flat                 .          .           .           .           .           .	MOZART.
Aria, Miss Clara Novello, ‘Tu m’abbandonni’            .            .	SPOHR.
Sonata, Violoncello e Contra Basso, Messrs. Lindley and Dragonetti	CORELLI.
Recit. e Quartetto, Miss Clara Novello, Miss Postans, Mr. Sapio, and
Mr. Giubilei, ‘Piacido è il mar.’ (Idomeneo.)         .            .	MOZART.
Overture, Jessonda             .          .           .           .           .           .	SPOHR.
Leader, Mr. WEICHSEL.—Conductor, Mr. T. COOKE.

THAT wonderful production of musical art, Beethoven’s symphony in c minor, in which he seems to have collected all his powers into one focus, was performed in a most accurate and brilliant,—we are much inclined to say astonishing—manner. Mr. Weichsel covered himself with glory,’ as our Gallic neighbours were once wont to say, in the leading of this: his times were correct to a nicety, and the spirit he so evidently felt communicated itself to the whole band. Apropos to our neighbours:—M. Fetis, who comforts himself now and then in roundly abusing whatever is English, swelled the note of national triumph a few years ago, on the performance of this very symphony in Paris; for getting, or willingly concealing, that it had been got up about a dozen years before by the Philharmonic Society, and that its fame at last reached the French capital via London The symphony of Mozart, not a less perfect work than Beethoven’s, was executed in as finished a manner. The minuet and trio were unanimously called for a second time. For the pianissimo, or a kind of echo between the clarinet and flute, introduced in the minuet, we are indebted to Messrs. Willman and Nicholson. It is not so marked in the score, but the improvement is most striking and incontestable. The overture to The Ruler of the Spirits is a work of great genius and beauty. Hardly less so is that to Jessonda; but they are too much in the same style to be performed on the same evening. And we must here observe, that variety of key, an important consideration in a concert bill, was not well studied on the resent occasion; and is too often neglected at these concerts. The whole of this first act was of one colour; all in a minor key: for though Beethoven’s aria ends in E flat, the greater portion of it is in the relative minor.

Mr. Moscheles’ concerto is a scientific, clever composition, and he performed it in his usual admirable manner; but the general feeling was, that it would be much improved by being shortened. Moreover, the instrument on which he played was by no means favourable to effect; it wanted body to those who were near, and at a distance the thinness, the wireness of its tone, was most sensibly felt.

Mr. Sapio, in Beethoven’s very fine scena, took more pains than common to deserve applause, and was entirely successful. We have rarely heard the passionate air, ‘Per Pietà*,’ sung with so much feeling and judgment; and the declamatory parts were animated without being too vehement. The aria of Cimarosa is not at all worthy of his pen: it possesses no good feature, and is languid from beginning to end. The rich voice and unaffected manner of Miss Postans might have been far better displayed, without any great expense of thought to the Directors. We can not speak much more favourably of the aria of Spohr, which is very long, and deficient both in originality and spirit. It is to be regretted that such talent as Miss Clara Novello possesses should have been so inadequately employed. However, the exquisitely melodious and gentle quartet from Idomeneo, which was well executed, afforded some compensation for the vapidity of the two airs. Messrs. Lindley and Dragonetti played the sonata of Corelli,—the 9th in A—which they had performed at the previous Ancient Concert, and in no less perfect a manner*. This is  written for the violin and violoncello; or for the former with a keyed instrument accompaniment. Given as now, each part is, of course, taken an octave lower; but with the delicacy of tone and refinement of Lindley, and the marvelous [sic] execution of Dragonetti, nothing is lost, in musical effect, by the alteration; while much is gained in novelty, and in the pleasure arising from surprise.